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The Ethics of the Implicated Spectator and the Relational Viewer in Artists' Moving Image
No full textIn this conference paper, I examined Michael Rothberg’s concept of the implicated spectator as he applies it to artists’ moving image in The Implicated Subject: Beyond Victims and Perpetrators (2019). The ethics of the implicated subject he derives from films by artists such as William Kentridge and Hito Steyerl is a shifting ‘position that we occupy in particular dynamic and at times clashing structures and histories of power’. I put his argument that confronting our own implication in difficult histories can lead to a sense of political responsibility in relation to social injustice in dialogue with relational psychoanalyst Jessica Benjamin’s concept of a space of thirdness in which co-implication is less certain. Rather than a morally implicated spectator, which can be ethically satisfying, in the spectatorial space of thirdness, doubt is played with and solidarity is less clear cut, the spectator being incorporated into scenarios that oscillate between identification and dream in relation to social issues such as sexism, racism and neoliberal capitalist extractivism. I propose an ethic in which one becomes cognisant of ones’ own vulnerabilities as well as one’s own capacity for harm, which may sensitise the viewer’s capacity to act in ethical ways outside the screening room
London College of Communication, UAL and Salford University: Storytelling Through Art and Design: Visualising Racial and Social Justice
No full textLCC X Salford University: Storytelling Through Art and Design: Visualising Racial and Social Justice a collaboration with University of Salford's Equity Ambassadors and LCC Changemakers.
Using Creativity to Drive Equity, Inclusion, and Social Justice in the Arts. A Knowledge Exchange Initiative Exploring Equity Through Creative Practice.
This was the provocation at the heart of Storytelling Through Art and Design, a Knowledge Exchange (KE) initiative inviting LCC students and recent graduates (Classes of 2023 & 2024) to share creative responses that visualise social and racial justice
Exploring the Creative Potential of AI in Filmmaking
Get PDFThis workshop explores the integration of Artificial Intelligence (AI) into filmmaking, focusing on AI-driven video content analysis (VCA), AI-assisted content creation, and ethical considerations. As AI continues to reshape creative workflows, it opens new possibilities for filmmaking while raising important questions about human-AI collaboration. The workshop aims to bridge perspectives between creative practitioners, industry professionals, and AI researchers, fostering interdisciplinary dialogue on AI’s evolving role in creative practice. We will discuss how AI-powered VCA advances film grammar analysis and audience cognition research, informing creative decision-making, and how generative AI supports production processes while expanding artistic possibilities. Additionally, we will examine how AI-driven analysis can inform ethical practices, alongside addressing the risks associated with generative AI. Through a combination of theoretical discussion and practical demonstrations, participants will gain hands-on experience with AI filmmaking tools while critically engaging with the future directions of AI-augmented creativity
Anthropomorphic Chaucer
No full textSubtle Subtitles, initiated during the pandemic, activates objects from the Camberwell ILEA collection with MA Interior and Spatial Design students at Camberwell College of Arts. Senior Lecturer Colin Priest created improvised masks from everyday materials as engagement tools, which students onomatopoeically translated and subtitled through 'glitched' virtual recordings in workshops. These experimental responses, accessible via QR codes, explore film-space development, accessible media communication, AI translation trustworthiness, and inclusive practices.
The Wyrtweard's Tale (The Gardener's Tale) extends this work through a protagonist in custom costume translating ILEA objects into wearable elements: 'wind' suit, 'bird' mask, 'fool's parsley' tunic, gloves and socks. Inspired by Geoffrey Chaucer as depicted in Thomas Hoccleve's Regiment of Princes manuscript (1412), the work presents a scrolling Middle English/Modern English anthropomorphic poem by Priest, translated using AI software then edited. Sans serif text in sand and charcoal highlights translation, while Middle English features calligraphic initials. The landscape text against portrait protagonist creates multi-device film space with chroma green background, referencing an earlier work Wynde Belle Garden (2023) and Hoccleve's illuminations. This silent film presents an urgent climate-focused 'Chaucerian' dialogue between bird and fool's parsley
Multisensory XR: Alleviating the Emotional and Physical Needs of Skin Hunger for Lonely Older Adults
No full textIn the context of global population ageing and growing attention to health and well-being, the need for physical touch among older adults—particularly those living alone or experiencing loneliness—emerges as an increasingly important area of research, often described as the phenomenon of 'skin hunger'. The absence of meaningful touch can lead to a range of physical and mental health issues, including depression, anxiety, and loneliness. While lots of research has been conducted on infant skin hunger, focusing primarily on the physical need for touch in early developmental stages, there has been a noticeable lack of attention on how this issue affects older populations. The current body of research often overlooks the unique challenges that older adults face when it comes to both the emotional and physical dimensions of skin hunger, particularly in settings where human touch may be limited, such as nursing homes or for individuals living in isolation.
This thesis investigates how extended reality (XR) might alleviate aspects of skin hunger for older adults through an iterative Research through Design (RtD) method. The work operationalizes ‘phygital’ probes—paired research instruments that combine digital probes (VR living rooms) with physical probes (a robotic sensory cushion)—to explore and prototype interactions that engage emotional and tactile needs together. Across four design–study iterations, the research examines: (1) how virtual reality experiences might support emotional well-being in relation to skin hunger; (2) in what ways tactile materials and a robotic sensory device might engage with the physical aspects of skin hunger; and (3) how multisensory XR systems might mediate between emotional and physical dimensions of well-being.
Mixed methods were employed, including semi-structured interviews and standardized questionnaires. Findings indicate preferences for modern domestic VR spaces augmented with targeted nostalgic elements, and for soft, warm, embrace-like tactile qualities in the physical device. The final ‘phygital’ probe mapped cushion touchpoints (e.g., heat, breathing, vibration, sound, light) to corresponding VR objects to create coupled physical–digital feedback. Results suggest that carefully tailored, culturally sensitive VR content, clear physical–digital mappings, and options for personalization might enhance comfort and engagement for some older adults.
Findings characterize how older adults engage with VR narratives to regulate emotion and how specific tactile qualities of the cushion support touch. The work contributes (1) a ‘phygital’ probe approach for studying and designing around skin hunger, (2) design guidelines for coupling XR with safe, acceptable mediated touch, and (3) a prototype that embodies these principles, together with associated documentation, to support future research and practice. These contributions aim to inform future interventions that support the emotional and physical well-being of older adults who experience isolation or limited human touch
A Design Theory for Fast and Slow Thinking in Interactive Coding
Get PDFThis paper introduces a new theory and shared language to help users and designers of interactive programming (IP) systems, especially those aimed at producing “creative” multimedia outcomes such as generative sculpture, art, music, graphics, and livecoding performances, to better identify key programming activities and be more strategic about their application. The theory was inspired by two complementary modes of thinking, “fast” (intuition) versus “slow” (deliberation). It defines three key “activity clusters” called LiveCoding Performance, Experimental Interactive Programming, and Exploratory Interactive Programming using the Cognitive Dimensions of Notations as a language to discuss practice-based reflections and user studies of intuitive and deliberative activities in performances, structured experimentation and software development, and open-ended creative exploration. In particular, it interrogates the usability trade-offs between the three clusters during the design of LivePrinter, the author’s interactive 3D printing (I3DP) and performance system. This positions these activities within the author’s practice as an educator, sculptor, performer, and software developer who experiments, composes, and performs, leading to some guidelines for other “creative” IP developer
Ten Texts on Painting 1: Expanded Painting
No full textWelcome to episode 1 of Ten Texts on Painting! This is the first of a series of reading group podcasts on painting. In this episode Matt and Andrea read three texts that think through an idea of expanded painting. We look at the painter Katharina Grosse’s reflections on key paintings in her career in, ‘The Poise of the Head and die anderen folgen’ and Anne Ring Peterson’s ‘Painting Spaces’, both from 2010. We also refer to Rosalind Krauss’s lecture/book,‘A Voyage on the North Sea'': Art in the Age of the Post-Medium Condition’ from 2000
Great Expectations: Marks & Spencer women’s wear campaign from Autumn-Winter 1970
No full textUsing historian David Cannadine’s (1989) argument that heritage can be applied to things that are worthy of preservation, I examine a Marks & Spencer women’s wear campaign from 1970 to explore how heritage works for a high street retailer, and specifically how the term operates within this temporal context.
Great Expectations sees a fashionably-dressed women wearing a trench coat fabricated using a novel and high-tech fabric – vinyl, a fabric which also connotes the space age, yet the photo-shoot is set in a churchyard and features a Victorian boy. Marks & Spencer recreated a scene from the Dickens’ classic, and the image caption states this was shot in ‘Cooling churchyard, the marsh country between the Thames estuary and the mouth of the Medway. In Great Expectations, this was where Pip first encountered the runaway convict, Magwitch.’
Can this image be read as a cultural clash? The trench coat is widely recognised as an historic fashion archetype, yet this version is produced in a futuristic fabric, described as a ‘wet-look’ finish in the marketing copy. It was a style my fashionable mother was excited about and one she bought from the Leicester branch of Marks & Spencer.
Had the space age images and futuristic fabrics used in the mid-1960s by designers André Courrèges, Pierre Cardin, and Paco Rabanne been quietened to suit the British high street
Navigating the future of AI in marketing: AI integration across borders, ethical considerations, and policy implications
No full textThe superior computing power of modern technologies, combined with their ability to provide insights through analytics on rich data sets, is helping companies enhance performance across all areas. Consequently, companies are increasingly deploying Artificial Intelligence (AI) to synchronise, reshape, and restructure their resources to achieve business objectives and enhance customer engagement in marketing efforts. AI facilitates marketing strategies by delivering personalised experiences to both local and international customers. However, the rapid pace of innovation in AI and the absence of comprehensive regulatory frameworks pose concerns. These gaps make it challenging for companies to ensure that their AI applications are compliant and safeguard stakeholder interests. Therefore, transitioning into the AI domain carries risks for companies aiming to maintain an ethical and responsible image. To mitigate these risks, integrating responsible AI usage into corporate policies can serve as a critical first step for companies